Phil Collins
they shoot horses
23 Mar 2006 - 04 Feb 2007
Phil Collins’s work often originates in areas of conflict, shifting the focus away from sensationalist news coverage to reveal unexpected aspects of life in contested territories - from Belfast to Belgrade to Baghdad and Bogotá.
they shoot horses shows a disco dance marathon produced in Ramallah with a group of young Palestinians. The work’s title is taken from a 1935 novel by Horace McCoy and its film adaptation directed by Sydney Pollack. These both focus on the American craze for dance marathons during the Great Depression, which became a form of popular entertainment based around the exploitation of the contestants.
Ramallah, a Palestinian city under Israeli occupation, has been the site of much violence and political unrest. While not directly political, they shoot horses resonates with the Israeli-Palestinian conflict. The artist auditioned participants in February 2004 and filmed two separate groups of young people dancing during the course of a day without any breaks. Throughout, the production was interrupted by power failures, technical problems and calls to prayer from a nearby mosque revealing the elation, stoicism and eventual exhaustion of the dancers. The work is concerned with heroism and collapse and reveals beauty surviving under duress.
This display has been devised by curator Clarrie Wallis
they shoot horses shows a disco dance marathon produced in Ramallah with a group of young Palestinians. The work’s title is taken from a 1935 novel by Horace McCoy and its film adaptation directed by Sydney Pollack. These both focus on the American craze for dance marathons during the Great Depression, which became a form of popular entertainment based around the exploitation of the contestants.
Ramallah, a Palestinian city under Israeli occupation, has been the site of much violence and political unrest. While not directly political, they shoot horses resonates with the Israeli-Palestinian conflict. The artist auditioned participants in February 2004 and filmed two separate groups of young people dancing during the course of a day without any breaks. Throughout, the production was interrupted by power failures, technical problems and calls to prayer from a nearby mosque revealing the elation, stoicism and eventual exhaustion of the dancers. The work is concerned with heroism and collapse and reveals beauty surviving under duress.
This display has been devised by curator Clarrie Wallis